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Shore’s harmonic language is characterized by his creative use of diatonic and chromatic elements. His frequent incorporation of ninth, eleventh, and thirteenth chords—particularly over modal backgrounds—enriches the harmonic texture, providing a lush, layered feel that is both sophisticated and highly atmospheric.
For example, his use of a spread G minor triad with a flat six (G-B♭-D with an E♭ added for the flat six) creates a Dorian flavor, contributing to mood shifts within cues. He often combines these with suspended chords to build tension, resolve, or create ambiguous tonal centers that keep the audience engaged emotionally.